「影像的謀反」|03.03–05.06|台北當代藝術館 MOCA Taipei

「影像的謀反」|03.03–05.06|台北當代藝術館 MOCA Taipei

 

「影像的謀反」The Rebellion of Moving Image

展期 |03.03–05.06
地點|台北當代藝術館 MOCA Taipei
藝術家|許家維 HSU Chia-Wei、艾薩克‧朱利安 Isaac Julien、約翰‧亞康法 John Akomfrah、吳燦政 WU  Tsan-Cheng、葉‧芭塔娜 Yael Bartana
策展人|黃香凝 HUANG Hsiang-Ning

更多訊息|http://www.mocataipei.org.tw/


「影像的謀反」展覽是基於對現實的質疑與不滿,用詩性書寫介入現實,形成多重影像敘述。此種逆「反」,是對現今全球化社會的資本流動、人口遷移、宗教與國族強權等,權力結構之單向性、既定性的質疑與忤逆;並藉由詩性的連結與想像,讓影像的虛構成為一種政治干預的工具,將「過去的未來」被懸置、重整、並再次想像。

Prompted by doubts and discontent with reality, The Rebellion of Moving Image uses poetic expressions to intervene in reality, with multi-image narratives formed. This rebellion doubts and resists power structures’ one-sidedness and established-ness that are observed in capital flows, population migration, religious and national powers. Through poetic associations and imaginations, imaginary images are turned into tools of political interference, as “the future of the past” is suspended, reorganized, and reimagined.

在創作手法上,不再如錄像藝術早先對敘事性的抵抗與挑戰,而是回到電影的拍攝手法中吸取經驗,進而擁抱敘事以處理當代社會性議題。然而單一線性敘事手法不足以表現當今社會多重權力交織下的心靈竄逃與複雜認同,藝術家開始使用多元的敘事方式,虛構與現實交錯的動態影像創作,讓虛構的情節不再只是為了讓事件更加生動,而是在「虛構」中重新攫奪強權把持的話語權,藉由「虛構」的政治性進行對現實的協商與奪取,也讓未來有了新的創造與開展的可能性。

Straying away from the creative approach previously seen in video art, which resisted and challenged the notion of narrative, cinematic filming approach is instead referenced here, with narratives embraced to deal with contemporary social issues. Nonetheless, singular linear narratives do not suffice in expressing the spiritual escapes and complex identities resulting from contemporary society’s many-sided crisscrossing power wrangles, leading to the employment of diverse narrative approaches by the artists. Moving images are used to overlap fiction with reality, allowing fictitious plots to serve beyond sensationalizing certain incidents, and regaining the right of discourse from the authority. “Fictional” political-ness is applied to negotiate with and seize reality, with the future filled with new creative and developmental possibilities.

本展邀請國內外五位藝術家作品參展:許家維的《飛行器、霜毛蝠、逝者證言》以日治時期海軍第二燃料廠遺址作為拍攝背景,用廠區空拍畫面及昔日日軍回憶錄作為旁白,以亂數播放方式,讓影像敘事變得隨機且偶然,指涉過去歷史文本已無法再重建。葉.芭塔娜的《地獄》,將巴西神國普世教會在聖保羅重建所羅門聖殿的事件,以好萊塢史詩鉅片的方式拍攝,質問此次興建是否已預告了未來的毀滅。約翰.亞康法的《信仰之舉》將過去四百年間因宗教迫害所導致的人口遷徙,連結至現今敘利亞的難民危機,呈現流離失所者脆弱的現實狀態,以及為了追尋更好生活的冒險與失敗。吳燦政的《重新編碼》虛構當代館歷經日治時期、市政府、及美術館三個時代建築空間中的聲音,以聲音喚起已然消逝的影像。艾薩克.朱利安的《萬重浪》源於2004年英國莫克姆灣中國籍海貝採集工人的遇難事件,作品將現實、神話、與虛構情節相互交錯,觀者沉浸於詩意的影像同時,也不斷對現實進行反思。

Five Taiwanese and international artists are invited to showcase their artworks in this exhibition. Drones, Frosted Bats and the Testimony of the Deceased by Hsu Chia-Wei is set in the ruins of the 2nd Navy Fuel Plant from the Japanese colonial period in Taiwan, with aerial images of the plant accompanied by voiceover of a former Japanese military officer’s memoir. Played in a random manner, the image-based narrative becomes arbitrary and haphazard, suggesting the impossibility to reconstruct the historical text.

Inferno by Yael Bartana depicts in Hollywood-esque epic saga style the incident of Brazil’s Universal Church of the Kingdom of God’s recreation of the Temple of Solomon in São Paulo. Her work addresses the construction through a vision of its future and questions if destruction is foreshadowed? Auto Da Fé by John Akomfrah connects population migrations over the last 400 years due to religious persecution with today’s Syrian refugee crisis, presenting the vulnerable state of reality faced by the displaced and the risks and failures they have endured in their quests for a better life. Recode by Wu Tsan-Cheng creates fabricated sounds in MOCA, Taipei’s architectural space, spanning across three segments of the space’s history of Japanese occupation, city hall, and art museum, using sounds to awaken bygone images. Ten Thousand Waves by Isaac Julien is inspired by the 2004 tragedy with Chinese cockle pickers drowned on a flooded sandbank in Morecambe Bay, England. The artwork crisscrosses reality, mythology, and fictional plots, immersing the viewers in poetic images while prompting them to reflect on reality.

「影像的謀反」的參展作品奠基於真實的空間、事件及文本,透過地方、歷史、文學、電影、傳說等多重援引指涉,以深思熟慮的影音佈署,嘗試連結更寬廣的時空脈絡,在虛構和非虛構的交互審視與合作中,進行現實的後設批判,並生產出新的現實。

The artworks on view in The Rebellion of Moving Image are based on realistic spaces, incidents, and texts, with meticulously arranged audio-visual components used with multiple references of location, history, literature, cinema, and legend applied to connect with a broader space-time context. Meta-critiques on reality are engaged in through fictional and non-fictional cross-examinations and interactions, with new realities also produced.